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WONDERFULSOUND

Never has there been a better time to unleash Colorama’s new album upon the world. No less than 10 years in the making, Welsh singer-songwriter music producer and multi-instrumentalist Carwyn Ellis has been honing the fittingly-titled, Some Things Just Take Time - flavoured with the great US tradition of delivering strong narratives through timeless song-writing.

Produced by Edwyn Collins. Further musical expertise was provided by Luther and Cody Dickinson (ex-Black Crowes and North Mississippi Allstars) on guitars, piano and percussion, plus James and Rob Walbourne on guitar, mandolin, dobro and percussion (The Rails, The Pretenders, The Pogues). BJ Cole adds pedal steel guitar and Jason Wilson (The James Hunter 6) plays double bass.

“The title, and much of this album, is inspired by my deep admiration for American music; the kind of titles you'd see on the raw blues records of the Fat Possum label, along with a dollop of old country wisdom, but manifested as an acoustic-flavoured record,” Carwyn explains. Tenderly nodding to US songwriters such as John D Loudermilk (‘So Long' recalls the Nashville legend’s knack for story-telling) or the distinct vocal and guitar sound of Glen Campbell, Some Things Just Take Time is an album that equally finds passion for the finely-crafted songs of Townes Van Zandt or fearless Celtic soul of Van Morrison's as to the 1930s-1940s American pop of The Ink Spots, The Mills Brothers, and Bing Crosby.

Telling tales of a trapped miner writing to his sweetheart (‘In Your Memory’) or changing perspective to that of a kid visiting an adult who's gone off the rails (‘It’s Not You’) the album possesses a voice of the people, whether sound-tracked with steel guitar (‘Special Way’) or beautiful baroque-flavoured arrangements (Sonny and Cher cover 'Baby Don't Go').

Written after Carwyn’s first visit to America in 2000, ‘Halcyon Days’ recalls the state-side trip which had a profound effect on him. “I was in Memphis to record at Ardent Studios with my dear friends, the North Mississippi Allstars. I fell for the northern Mississippi hill country blues around the time I met them,” Carwyn recalls of his fondness for a sound, developed over 4000 miles from his childhood home in Anglesey and where he now resides in Cardiff.

Recorded as live to capture the energy and excitement of Colorama’s performances, the album was put straight to tape in London at Edwyn’s West Heath Yard Studios and at Liam Watson’s Toerag Studios; the ruggedly honest blues sound of R.L. Burnside’s 'Long Haired Doney’ was recorded as London burned during the 2010 riots. “Edwyn and his engineer Seb, as well as Liam at Toerag, just ran the tape and let us go for it,” Carwyn says of the analogue setting, giving a quintessentially British take on the traditional American sound. “Their encouragement and the fun atmosphere were great incentives to perform. The spaces and production techniques were excellent at capturing the moment by not beating about the bush with decisions.”

For an artist, for whom music comes as naturally as birds sing, 10 years to record an album might seem a long time. A professional musician for 20 years - since first starting out on the piano until recently adding to his writing credits with St Etienne (whose single will drop in the summer) and through current role as a radio DJ - music is all Carwyn has known. Some Things Just Take Time freewheels like dandelions on the breeze and glimmers like sun-kissed skies, making it all look very easy. “It’s all I've ever wanted to do, I can't conceive of doing anything else,” Carwyn tells. “It's been a while making its way into existence, but then some things DO just take time...”

Luca Nieri

Alchemy

    We tend to think of Alchemy as some kind of black magic, but its roots are far more of this world, the origins of it found in medieval times, its aim simply to purify, mature, and perfect certain objects. It’s also the title of Luca Nieri’s brand new album, a spellbinding collection of instrumental music, a skewed homage to Nieri’s favourite film soundtracks of the 60s and 70s, and the follow-up to 2017’s self-titled effort, which was lauded by Rough Trade as a record which “exists in a cosmos, textured and beautifully melancholy.”

    Informed by the notion of alchemy, and inspired by the desire to create moods without words, Nieri began to explore the idea of Cymatics, a process in which different patterns are created by the vibration of an object’s surface. Suitably, the resulting album is something both peculiar and indistinct. Once more recorded at home, the twelve tracks on Alechmy bristle with energy and intrigue, old sounds woven together in new ways to create something decidedly unique.

    With simple numbers rather than song titles, Nieri’s latest work will take on a unique life of its own for each and every listener; the subtle unraveling of the songs not just tying themselves to the world around us but forging new pathways, new images and landscapes, as they roll subtly forward, beautifully detailed and expansive.

    From subtle weaves of guitar, meandering and starkly atmospheric, and fragile piano pieces, to the more brightly-coloured and varied compositions that showcase an assembly of various instruments, including bass, drums, harpsichord, Alchemy utilises intricate production methods, elevating the whole record in to some kind of psychedelic dream-state, a labyrinthine journey of sound.

    At once both elegant and complex, Alchemy is as a unique piece of work as we’ve come to expect from Nieri, via his previous work with The Monk’s Kitchen and his subsequent solo work.

    For anyone preparing to battle a bout of seasonal-affective disorder, producer Martin Brew, otherwise known as Manchester’s sonic-maestro J-Walk, is all set to shine a little limelight through the dark with eight deep cuts that shimmer on the brand new LP Limelight Nights.

    “I started on Limelight Nights during the spring and it was very much inspired by the nice weather at the time which also seemed to galvanise me into making something ‘summery’ in feel,” Martin explains. “It’s all about light, time, seasons and how certain points in the day or year can invoke a certain feeling or mood…from melancholy to joyfulness and all the other places in between.”

    Serving as a precursor to J-Walk’s debut LP A Night On The Rocks, which captured the feel of a night-time world, Limelight Nights is inspired by what happens prior to that. The moment when twilight descends, the sun sets, the stars begin to sparkle and all the wild and wonderful anticipation, expectations and excitement it brings.

    With 12 years between J-Walk’s debut and sophomore release, fans waited whilst J-Walk took a break after touring, remixed Baaba Maal, Rae And Christian, Kings Of Convenience, and Nitin Sawhney, then took some time to recharge when “life just kind of took over” but Limelight Nights was written in just 12 months. Surprising, given that J-Walk now plays the role of all members of a fictitious band, writing, playing and recording all instruments himself. “I now record my guitars to my computer rather than tape and have to think like each separate member of a band to play that particular instrument. It means the process takes longer than a band writing and playing together,” Martin says.

    One thing that hasn’t changed is the influence of Manchester. Whilst the city centre buckles under the weight of change and lines the pockets of the already rich, Limelight Nights takes a fresh new stance; “I live just outside Manchester and see it every day! It’s a dynamic city with all the development that’s still going on, but it’s now the fringes of the city where the interesting stuff happens… in the old run-down industrial arches and warehouses; in the hinterlands that are probably an embarrassment to the council… this is where the young and hungry creative energies can be found that I find inspiring.”

    Wiping off the raindrops and peering in from the outside, each track is shot with serotonin and brings a voyeuristic positivity to the changing northern landscape. Since the days of the project’s incarnation after using one of New Order’s old Akai S900 samplers – an artefact that no longer works, but still takes pride of place in Martin’s home (“I can’t let it go as it’s a little piece of history and very special to me!”) J-Walk’s musical influences and passions have once again been given the treatment they so brilliantly deserve with a body of twisting sweeping synths for a deeper dance vibe.

    The seductive French vocals of ‘Aimons Toujours’ and infectious West-Coast groove of ‘Twilight’ draw inspiration from producers and artists such as Bibio, Peaking Lights, Jaakko Eino Kalevi, and MGMT plus The Durutti Column, Tom Tom Club, Sly & Robbie, and the Style Council. There’s even a nod to local legend, the late Rob Gretton. “Rob gave me my first break and released my first record…something I’m eternally grateful for,” Martin recalls. “He was warm and brilliantly sharp, and always took a keen interest in the music I was making. I miss him and still think about him lots – in many ways he defined Manchester for me since my teens and still does, because that musical legacy and the city are inseparable.

    The vital thing, however, Martin says, is to keep looking forward and keep it light; “As an artist it’s important to develop and push yourself further all the time. I’ve been DJing since my teens, and have been buying records religiously since I was 13, so in a sense it’s my job to keep up to date with what’s happening. I’m very proud of the music I have made, and am currently making – it’s all part of the journey and the overall oeuvre.”


    STAFF COMMENTS

    Patrick says: Incapable of anything but brilliance, J-Walk effortlessly entwines French pop, hip hop, dub and downbeat into a Balearic blend you'll savour again and again.

    The Severed Limb

    Good And Gone

      The Severed Limb are a young six-piece skiffle band from London who write songs influenced by a variety of roots styles. The band released their debut EP in Oct 2010 to much acclaim and released an album for Damaged Goods in 2014.It led to a filmed BBC Session with Steve Lamacq who said of them "Rampant and joyful ... an infectious mix of old rock & roll styles playfully twisted for (today)".

      From busking with washboards to recording raucous rock in pub basements, Severed Limb are the epitome of DIY. Born and bred in Brixton, the Londoners’ new album is the point at which punk and skiffle meet with one clear aim; to take their sound from the streets and make people dance to a pub-punk rock that’s defiantly outspoken.

      Buskers by day, noise-makers by night, ‘Severed Limb Strikes Again' sums up the band’s tormented, vastly defiant look at the world and all its ills; from drink and drugs, even to love. Ever since Bobby, and fellow rebels-with-a-cause Charlie, his half-brother Leo, Sam, Alex and Simon, came together to record their first tracks on cassette in the basement of a pub where Charlie was landlord after bonding over their favourite jukebox sounds, they’ve been on a mission to make a noise – sonically and politically – and to get the world bopping in the process.

      Written, right there, on the concrete of London’s Borough Market during one of the bands regular busking sessions, the album’s spontaneity, from the immediate Undertones stomp of opener ‘Oh My My!’, will make anyone take notice – including singer Imelda May who invited the band to open her show at The Royal Albert Hall. “It’s the first track we recorded and we only did one take. We wanted it to sound like a slap in the face. It's about staying engaged with life and not giving in. It's also about South London - the vilification of poor young people and the rampant gentrification. I'm a socialist so I feel I can stick my oar in,” tells Bobby.

      Swelling with their own authentic take on the sounds they love, each track is infused with sounds from the 50s to the 70s; from the Tom Waits style percussion of ‘Poison’ to ‘Freezing Point’ which revives Berlin-era Iggy & The Stooges as it reveals details of a recent visit to China. “I played in a heavy metal bar that was owned by a policeman - something that was completely illegal for him to do! I also visited a school where children sang the communist anthem 'March of the Volunteers' every morning,” tells Bobby.

      Laid down on two-inch tape in an all-analogue New Forest studio, the band were given chance to express their appreciation for a vintage sound in their own frank way – even if things did take a mysterious turn. “We'd drive down to Dorset and it was great to be totally isolated,” they say. “The studio was a wooden hut near a village called Burley which is famous for witchcraft. It was an apt place to record the b-movie horror film-inspired tracks like ‘Bela Lugosi’. Hopping from punchy skiffle to the murkier depths of visceral punk rock, Severed Limb imperfectly embody the uncompromised spirit of true rock’n’roll.


      FORMAT INFORMATION

      Ltd LP includes MP3 Download Code.

      An introduction to a new mystical world, Waiting Around fuses the great Brit folk-jazz traditions of Nick Drake, Bert Jansch, Davy Graham, with further-flung sounds of Gene Rains, Eden Ahbez, Moondog and Sun Ra.

      Whilst their influence would not sit so brazenly on John’s rolled-up sleeves, each one possesses inspiring techniques; “I deliberately listen to how music is recorded and put that into my process,” John explains. “A lot of percussion in exotica stuff or Indian, South American folk gives me ideas. Things like a distorted reggae hi hat or a backing vocal that’s way too loud and bleeds all over the other musicians – I like natural accidents which you only get with tape.”

      Fittingly titled, Waiting Around is the fruits of melodic craftsman, John Stammers’ labour. Arriving no sooner than six years since the release of his 2011 debut; a physically demanding day job and fascination for all things analogue has made way for a record of stark beauty and enduring quality - delayed only by an unyielding sense of intrepid experimentalism.

      Sounding like its own reel of ticker tape, Waiting Around is punched with even more magical moments; given its name, it’s a wake-up call (“It means you’re wasting your life and not being as productive as you or I should be!” John says), whilst beautifully warm songs recall friends as well as past and present loves. ‘Stepping Round Her Clothes’ captures the feeling of being young and in love whilst fiancée Yasmin plays a starring role in ‘Woman.’ “’Risky Flowers’ is about a troubled young man I knew who smoked heroin; he didn’t do it regularly but then I once met him and he looked bad. People said they didn’t recognize him. Then I didn’t see him for ages – that was three years ago,” John says.

      Waiting Around also features the varied skillset of John’s many musical friends. Paddy Steer (Home Life, 808 State) lends his expertise by way of homemade percussion, Nancy Elizabeth plays Celtic harp and adds warmth with her vocals, piano melodies are provided by Aidan Smith and Alfie’s Ben Dumville plumps up proceedings with rousing trumpet sounds.

      Produced by Jim Spencer (The Charlatans, Bert Jansch), Miles Copeland (Superimposers), and Dan Munslow (The Monks Kitchen, Luca Nieri), the album was recorded in Eve studio, nestled in Manchester’s city suburbs. “The idea was to book the studio for two weeks and rehearse in my cellar,” tells John. “We got to choose which tape machine to use, synths, compressors – the perfect place to record if you’re geared to analogue and like 18th century chapels.”


      If you’ve been wondering what’s been keeping Lee Southall busy all this time, you’re about to find out. On Iron In The Fire, the former The Coral guitarist brings the outside world in through quality songmanship – showing that whichever paths our lives may take, our exposure to the elements will remain the same.

      Taking an alternative path to each of his Coral cohorts, when the group disbanded in 2012, Lee left behind his native seaside town of Hoylake on the Wirral, and moved 75 miles inland to the ‘tops’ of Hebden Bridge. In search of a fresh start, the dramatic wind-beaten and changeable landscape gave Lee time and space to craft Iron In The Fire but equally, it lingers like the taste of the salty air hanging above the coast. “I’ve lived by the sea and watched weather roll in, but it's the same in Hebden, watching storms roll over the moors,” Lee says. “The place is changing all the time and sometimes looks a bit chocolate box, village of the year, but when the tourists are gone it can feel like the set of a 1970s BBC folk horror - a bit Wicker Man.”

      Written in his new hilltop dwellings between spending time with his daughter (‘Spread Your Wings’ and ‘Yesterday Morning’ were inspired by her) Iron In The Fire’s initial demos were home recorded in Lee’s conservatory and the kitchen of good friend John Heron. Emerging from demos where birdsong interrupts the fret-squeaks, the album’s warmth recalls the classically 70s West Coast America sounds of James Taylor and The Byrds, alongside Brit folk outsiders John Martyn, Bert Jansch, and Davey Graham. “Recording in the conservatory was interesting,” Lee recalls. “In some of the demos you can hear the rain battering on the roof. It has a natural quality I love. Some of that is in the album… the sound of fingers on strings. I wanted it to sound human, not too smooth or polished.”

      In a sad turn of events, his friend Heron passed away having never heard the final record, but from those initial recordings Iron In The Fire evolved and just like the interchangeable weather of West Yorkshire itself, moves confidently from the beautiful to the mysterious. From the simplistic title-track which introduces a wave of erudite guitar with just a few lines of lyrics, to the heady textures of frenzied ‘In Accordance,’ or ‘Misty Mae’s reference to two worlds, we’re given a full and varied picture of Lee’s musical and personal journey so far.

      “When I play the songs live it's fluid; they can and do change. I don't like things too structured. Some are like soundtracks, there's a lot of weird stuff going on around them,” he emphasises. Riding the elements, ‘Under The Weather’ and ‘Above The Storm’ incorporate Lee’s love of films and classic TV series by bringing their own atmospheric tales into the fore whilst ‘Sleep’s pedal steel twang and the cello on ‘Blue Skies’ channels his inner Townes Van Zandt and Gram Parsons.

      Self-financed, the album was recorded over just a few days at Manchester’s Airtight studios with Lee’s own league of melody makers; producer Seadna McPhaill, guitarist Ant Davey, and Mark 'Horse' Phillips on pedal steel with Al Lowles from Airtight on mastering duties. However the album is very much the sound of Southall standing alone on his own two feet. “Music's in my blood, it's all I know how to do. The decision to work on my own album felt obvious, natural. Iron In The Fire feels like something I've been waiting for.”


      FORMAT INFORMATION

      Ltd LP includes MP3 Download Code.

      Zooey

      The Drifters

        'The Drifters' is the debut album from London based French duo ZOOEY (Matthieu Beck and Marie Merlet) that takes the listener on a trip between idleness and daydream. A classy collection of eleven electronic retro futuristic pop songs, underpinned by drum machines and synth arpeggios that meld fluently with flutes, pianos and percussion, creating a laid back yet evocative noir cinematic listening experience.

        Recorded in their London home studio, 'The Drifters' mixes the many influences and experiences of both musicians. Marie loves experimental pop and Sixties soul, she has been a long time collaborator of Laetitia Sadier in Monade and has just released her first solo album as Iko Chérie on Elefant Records. Matthieu was at the core of disco pop Parisian band Adam Kesher and is now involved in the London based indie group Oslo House as well as curating the ambient music podcast Love In The Afternoon. He's also the mystery French voice on the opening track of this years NZCA/Lines album.

        The album invites the listener to action ('Realise Realise'), questions our relationship to the world ('A Good Night Sleep'), celebrates freedom and escape ('Time To Get Alone') but also acknowledges the difficulty of changing ('Marcher La Nuit'). Two instrumental tracks and one cover are at the heart of the record: 'Jóia' and 'Joya' are balearic soundtracks directly inspired by library music records. 'The Country Song' is an adaptation of 'Let's Move To The Country' by singer- songwriter Bill Callahan.

        Mixed mainly by producer Charlie Alex March (NZCA/Lines and Veronica Falls) and their long time friend Emmanuel Mario (Astrobal, Julien Gasc). 'The Drifters' is released on the WONDERFULSOUND label, whose chief Miles Copeland recalls how they first met:

        “Many years ago Matthieu and Marie cheerfully came up to me after a gig I was playing in south London with my band The Superimposers. They had emailed me out of the blue one year earlier with a remix of one of our songs. They did it without stems and without our permission and I loved it! So I released it. When they moved from Bordeaux to London we built up a true friendship, so when I heard their album ‘The Drifters’ I knew it had to come out on Wonderfulsound.”


        Named after a Dylan song, Angelina has lived all her life on the Isle Of Wight. Growing up with the blues, folk, country, gospel, jazz and rock'n'roll. She taught herself to sing by listening to Bessie Smith, Ma Rainey and field recordings of country blues singers working on the land.

        Developing her own song writing style inspired by the likes of Wanda Jackson and Karen Dalton, her debut album is given a 21st Century sonic overall by fellow island dweller Rupert Brown who adds raw mechanical production and unusual instrumentation.

        The results are not dissimilar to those LPs coming out of Spacebomb studios (Matthew E White + co), but here tough cosmic country rubs with dustbowl soul and lyrics about isolation and celebration.

        Growing up in a small coastal cottage, with the beach and country lanes as her playground, Angelina’s English father would paint (see Vagabond Saint’s artwork) and sing her to sleep every night. Her Chinese mother would teach Angelina to cook and sew whilst sounds escaped from the record player; those made great by Little Richard, Jerry Lee Lewis, sea shanty bands, gospel, 20s jazz singers, English folkies and country blues guitarists like Mississippi Fred McDowell and Blind Willie Johnson.

        Listening to those recordings, Angelina would teach herself how to sing; Bessie Smith and Ma Rainey would guide the way for the young singer as she attempted to channel their spirit through her own unique voice. “I would practice a sentence from a track for hours. I remember hearing a field recording of female country blues singers working on the land and it spoke volumes to me. I learnt loads of the songs and rehearsed in different rooms which changed the sound of my voice; the bathroom was great for that moaning blues sound with its natural reverb.”

        Once, after testing out the reverb at a house party, Angelina’s musical education continued when she was taught a valuable lesson by a travelling American blues singer, who told her through a whiskey-soaked miasma, “You got the tools but ya don’t know how to use them”. Undeterred, Angelina continued looking towards her heroes – Karen Dalton (“Everything about her vocal story and sound, her voice goes straight to the jugular”), Wanda Jackson, Memphis Minnie and Jo-Ann Key. Later finding herself Stateside, learning all the jazz chords whilst staying in the home of Hawaiian slide guitar guru, Bob Brozman.

        The years passed honing her sound and songcraft – Angelina could often be found braving the elements busking the isles small towns. The epiphany was finding a kindred spirit in fellow island dweller and producer/multi-instrumentalist, Rupert Brown (Roy Ayres, Pete Molinari, Jill Scott, Robbie Robertson, Daryl Hall, and resident drummer at Liam Watson’s Toe Rag studios). Giving the fruits of Angelina’s old time influences their glory through a 21st Century vision, unusual instrumentation and raw mechanical production, Vagabond Saint’s sonic cocktail accentuates the guts and grip of a true collaboration.

        A process of re-sculpturing and exaggerating observations of real-life, Vagabond Saint’s lyrics are equally inspired by the art world; two tracks were written on day trips to London galleries and named after Alexej Jawlensky’s ‘Manola’ and Paul Benn ‘Vagabond Saint’, when Angelina took it upon herself to create stories for the paintings depicting loneliness, which reached out to her.

        Resonating like porch-tales told by grandmothers from their rocking chairs whilst tumbleweed rolls across the dust bowls, Vagabond Saint boasts a truly rare nu-ranch sound capturing everything from isolation to celebration. Feelings that have been whistling down the wind for centuries and found a new voice in Angelina, which thankfully you don’t need a ferry to hear it no more.


        FORMAT INFORMATION

        Ltd LP Info: Black Vinyl, Printed Inner Sleeve, Reverse Board Outer Sleeve, Flipback Style.

        Ltd LP includes MP3 Download Code.

        The sounds perfectly preserved on this disc were recorded by Miles Copeland on a visit to Croatia whilst DJing and performing with his band The Superimposers at a music festival on the Adriatic Coast. A friend recommended he make the short journey to the city of Zadar and visit the Sea Organ.

        The Sea Organ turned out to be a 70 metre sound installation by architect Nikola Basic, conceived as part of a project to redesign the coast after the devastation Zadar suffered in World War 2. Open to the public in 2005, the Sea Organ is implanted into the marble steps of the harbour walls. It has 35 organ pipes, which are played by the pressure of the tidal waves lapping air through tuned tubes. The resulting sound wholly depends on the character of the sea affected by weather conditions or harbour traffic, whose ripples create random harmonics and musical chords. 7 successive groups of pipes are tuned to 2 musically cognate chords of the diatonic major scale. Tones and chords are played to create the music as heard on this recording.

        The end result is a totally random, occasionally aggressive and sometimes soothing performance, which is, of course, played constantly. Miles returned to the giant Sea Organ that weekend numerous times and made these recordings.

        After the sampledelic beauty of J-Walk's excellent "Off Beat", Wonderfulsound keep the gold flowing with Simon Lord's beautiful sophomore solo LP.

        Following on from his 2012 debut "One" - a stripped down, acoustic album with a touch of the psychedelic about it - "Stripes" sees Lord return with the same classic pop songwriting attitude but a different approach, including an upright bass player and jazz inspired drummer with Simon as producer and engineer.  With the inspiration of "Astral Weeks" and the groove and sonics of "50 Ways To Leave Your Lover"-era Paul Simon, ‘Stripes’ is a fully realised perfect pop album.

        Shawn Lee

        Zombie Playground OST

          Shawn Lee, the hardest working man in the music business, was recently approached to provide some music for a zombie computer video game. So in typical Shawn Lee fashion he wrote a whole lp! Shawn then approached Wonderfulsound asking if we wanted to release "Zombie Playground" on limited audio cassette tape in time for halloween. Why not!

          Includes immediate download of 16-track album in the high-quality format of your choice (MP3, FLAC, and more), plus unlimited mobile access using the free Bandcamp listening app.

          FORMAT INFORMATION

          Cassette Info: Limited to 100 copies. Includes Free download on purchase.

          After a two year hiatus and a severe falling out with their previous label, Dan Warden and Miles Copeland return as The Superimposers with brand new album on their own self-financed Wonderful Sound imprint. All that wrangling hasn't diminished the duo's ability to write beautifully crafted songs though, which they do with aplomb here. And their love of 1960s gentle psyche / baroque-pop is also still well and truly present, making "Harpsichord Treacle" a must for fans of anything Hazlewood / Axelrod / Left Banke.


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